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A quarterly, Governors State University, Park Forest South, IL 60466 

Vol. 5, No. 1 Summer 

A quarterly published at Governors State University under the auspices of the Provost's Office 

©Governors State University and Helen Hughes 


Helen E. Hughes Editor 

Lynn Thomas Strauss, Managing Editor 

Joan Lewis, Editorial Consultant 

Suzanne Oliver, Graphic Designer 


Donna Bandstra, Social Sciences 

Rev. Ellen Dohner, Religion 

Rita Durrant, League of American Penwomen 

Ann Gerhart, Women's Networking 

Harriet Gross, Sociology/Woman's Studies 

Helene Guttman, Biological Sciences 

Mimi Kaplan, Library Resources 

Young Kim, Communications Science 

Harriet Marcus, Journalism 

Elizabeth Ohm, Library Resources 

Betye Saar, Fine Arts 

Marjorie Sharp, Human Relations Services 

Sara Shumer, Political Theory 

Emily Wasiolek, Literature 

Rev. Elmer Witt, Campus Ministries 

Table of contents 


by Eleanor Munro 

Book Review by Joan Lewis 


by Joyce Chizuko Morishita 

by Sandra Salus Kamp 

by Julie Haneman 

by Kathleen Crowley Cothroll 

by Barbara W. Graham 

interview by Lynn Thomas Strauss 


by J. Lacaria 


M.S. MYROW by Lynn Strauss 


CHANDLER by Lynn Strauss 


MARY M ALONE by Joan Lewis 


by K. Page 


photographed by Karen Deslierres 

and Buzz Hume 

A Report on The Gathering 
by Helen E. Hughes 

Poem by S. de Mattia 




A LITTLE ORIGINAL SIN , The Life and Work 
of Jane Bowles by Millicent Dillon 
Work of Jane Bowles 31 

Book Review by Carolyn Carmichael 

FIREFLIES, Images of a Summer Night 
How this issue came to be 
How new topics emerge 


Cover photograph of "Field Rotation" 
by Buzz Hume 


address by Nancy Haegel 



by Eleanor Munro 

Review by Joan Lewis 

American women have been producing art 
since there were Americans,, Rut recogni- 
tion, as in all professional endeavors, 
has taken a long and circuitous path. 
The '60s, with its true flowering of the 
Women's Movement was the final impetus 
toward acceptance of women in an art 
world dominated by male artists,, With 
the beginning of this century, women 
artists were gaining a recognition of 
sorts, but of a grudging and costly kind, 
demanding extraordinary talent, tenacity, 
and inner vision In short, only the true 
original capable of survival in an alien 
society prevailed. And such is the tradi- 
tion that continues to mold our contempor- 
ary artists, yielding a unique generation 
of American women artists and their art. 

Eleanor Munro has chosen to study these 
unique women, to search out through per- 
sonal interview and research what combina- 
tion of psyche, private and historical 
circumstance, and genius produces such a 
group whose artistic statements continue 
to interpret and shape our society and its 

Munro's profiles of her subjects consti- 
tute the heart of this book. With the 
exception of Mary Cassatt (who died in 1926) 
each profile is the result of an interview 
with the author in which the artist shared 
her memories of personal discovery of art 
and identity as an artist. All speak of 
an irres is table commitment — an organic 
certainty about their destinies as artists, 
an unquestioned loyalty to that direction. 

"Of whatever age and circumstance, how- 
ever, there were two steps the future 
artist took to shape her life. One was 
a coming to grips, the other a breaking 

For many women, especially those of the 
earliest generations, this meant enormous 
obstacles, personal sacrifice, lost or 
denied relationships and, often, great 
emotional pain. In the world of conven- 
tion, where this supreme absorption in 
an occupation outside the traditional 
female role has no frame of reference, 
such difficulties and loss might be in- 
terpreted as failure. But to these 
women there is only one failure: denial 
of their creativity. Art i^_ survival. 

"Lifelong, these women testify, 
the creative will exerts its pressure. 
Nothing human stops it, not deaths, 
losses, pain. But something can send it 
underground, and when that happens the 
sense of frustration is unremitting until, 
by just as mysterious a mental reversal 
or a turn of events, the will is set free 

Thus, personal relationships occupy 
a rather divergent place in the life of 
a female artist. 

"Nearly every woman I talked with 
had a relationship with a powerful male 
at some time early in her career or as 
an enduring marriage... where other women 
might suffer in such relationships, these 
profited by going their own way in the 
guise of following, or by sealing off 
areas of their lives or, eventually and 
in due time, taking the initiative in 
breaking off... The woman of potential 
knows where she wants to go and does 
not say NO to help from wherever it 
comes, though one can expect that self- 
reliant women in the future may not 
gravitate to such external sources of 
energy and power." 

Munro's selection of artists, which 
span a century, are grouped chronological- 
ly or by point of entry into the art scene 
in what she terms "Waves", corresponding 
loosely to the decades of the '40s, '50s, 
'60s and '70s. Each "wave" of artists 
shared and were influenced by historical 
circumstances unique to their decade. 

Prefacing these sections, Munro pays 
homage to foremothers Mary Cassatt and 
Georgia O'Keeffe in a chapter entitled 
"Methods and Matriarchs". 

The author defines Cassatt's uneasy 
merging of stable Protestantism with 
Parisian estheticism as the base for the 
Mew Women Artists, while O'Keeffe signaled 
the coming of Internationalist Modernism 
to the U.So and prefigures "a future mode 
of art and thought." 

"Women of the First Wave: Elders of the 
Century" includes Realists, Surrealists and 
Abstractionists who produced the art of 
the '40s and '50s such as Hedda Sterne and 
Sari Dienes. Many were offspring of Russian- 
Jewish immigrants; others were American-born 
and public school educated. But all exper- 
ienced and were molded by two world wars 
and a depression. All were formed in an 
era of cultural growth and idealism and pub- 
lic expansion. 

"Women of the Second Wave: Mavericks at 
Midway" includes Grace Hartigan, Jane Frei- 
licker and Fay Lansner. Munro comments 
that all these artists were raised to be 
winners as products of the '30s progressive 
education, political activism and cultural 
optimism. Their parents, as a 
supportive. However, W.W. II 
tialism divested most of them 
illusions, as did encounters with male 
dominated art circles and the rejection 
their work during the reactionary '50s. 
These artists survived as mavericks in 
the era of Abstract Expressionism. 

whole, were 
and Existen- 
of their 


Terming the '60s a 
the decade, Munro 's 
Wave: Sisters of the 
Elise Asher, Sheila 
The Creative Woman's 
(Cetye has served on 
Woman Advisory Counc 
and was guest editor 
Issue on "Women and 

s the crossroads of 
"Women of the Third 

Crossroads" includes 
De Bretteville, and 

own Betye Saar. 

The Creative 
i 1 since incepti on 

of TCW's Summer 1978 
Art" J 

This group of artists came into their own 
during the '60s era of radicalism and free 
experimentation: plastic, latex, rope, rock, 
objects that hang, swing, lay, creep, ob- 
jects in boxes, dolls, feathers, gloves, 
old photographs and letters, — even 
color xeroxes. Money for the arts was 

available during this period, but like 
politics and the social system, the arts 
encountered confusing new potentials for 
freedom. This third wave was character- 
ized by "assemblages, Environments, 
Happenings and isms (pop, op, Minimal, 
Conceptual) . 

The last group of artists, "Women of 
the Fourth Wave: Hiimbolt's Daughters" 
Munro sees as perpetrators of the roman- 
ti c-sci enti f i c-uni versal i st vi ewpoi nt . 
Artists like Athena Tacha, Mary Miss, and 
Alice Aycock reached promi nance in the 
'70s, the decade that brought true recog- 
nition of the presence of women artists in 
this country. The author compares the work 
of this group to that of the von Humbolt 
brothers, whose mid 19th Century writings 
on natural philosophy and structural lin- 
guistics were universal in scope and pre- 
pared the base for the research of Darwin 
and Spencer. As artists, they have "taken 
on the task of encompassing the whole seen 
and felt universe." 

"These young artists display an appetite 
for encompassing the world's knowledge 
and feeding it through the meshes of their 
minds that one can only call 'Humboltian'." 

Their works reflect extensive travels 
and education., Most are university-trained 
and have studied art history. All have 
parents with much in common: mothers who 
harbored a love of art, and fathers whose 
professions— usually some kind of outdoor 
technical work — necessitated world travel. 
Synthesis of the broad experiences this 
background yielded, a "near-magical reach 
for integration" marks their works. They 
bring a naturalistic perspective to their 
subjects and build structures to deliber- 
ately engage their audience in exercizes 
of primitive contemplation of fear, soli- 
tude, claustrophobia. Munro calls these 
"early works in a mode of art still to 
be developed." 

Author Munro admits that she is on 
precarious ground in attempting to in- 
terpret art and its artists using psy- 
choanalytic methods. Admitting that she 
does seem to concentrate on childhood 
memories of the artists, she explained 
"I was interested in the roots of the 
impulse to become an artist and what in- 

fluences reinforced that drive." Sfoe 
also points out that, especially among 
the younger artists, such memories came 
across as quite fresh and significant to 
the artists themselves. Final justifi- 
cation of this approach is that Munro 
feels it is impossible that works of art 
can ever be totally empty of projected 
human content, and to delete this from 
interpretation is to substitute an arid 
professionalism that is only a weak 
parody of the estheticism of half a 
century ago. She cites as one reason 
for the present dearth of biographies of 
visual artists the "fear of Freudian 
failure" and the adoption of narrowly 
art-historical, formalist or phenomenolog- 
ical categories. 

Contrary to what one might expect in 
the present feminist era, Munro has 
rejected the Women's Movement as the 
basis for her discussion of women artists, 
pointing out that one reason women's art 
has not been "honored enough is that it 
has too often been considered just that — 
women's art — and searched for revelations 
of the Zeitgeist. In this one respect 
Feminism may even serve the enemy." 
Stripped of the background she shares with 
men — a long often cruel road to achieve- 
ment filled with inequities— "is to show 
the woman artist as not more but less 
original ." 

Munro concludes that "all the women in 
this book, of whatever age and style, are 
in the broadest sense to be considered 
part of the same tradition... their con- 
servation ism may be the promise of their 
future, women artists of this transitional 
time, when the world is trying to salvage 
itself against an apocalyptic background, 
may have something to say that many males 
with their traditional rejection of the 
old, their dividing of the arts into na- 
tional camps and their thrust to power and 
profit have not. 

Relatedness, connection, continuity: these 
are words I heard the women of all ages 
use. If there is a 'woman's art,' per- 

Frost line Kits: A Report 
by Pat Watson 

haps it is here." 

For practical, sturdy outdoor clothing 
at the least possible cost this side 
of the Goodwill Store, start sewing 
with Frostline Kits. Even macho men 
who have never touched a needle have 
sewn handsome jackets, shirts, down- 
filled sleeping bags, tents, and all 
manner of outdoor gear from Frostline, 

Strangely, experienced seamstresses 
are more likely to run afoul of Frost- 
line directions than is someone who 
has never sewn before, I recently 
completed the Frostline mountain parka, 
a wonderful waterproof coat with enough 
pockets to keep a magician happy. The 
only time I ran into trouble was when 
I thought I knew more about how to 
attach a cuff than they did. 

I decided to make a mountain parka 
when I saw how practical Sharon's 
was on our recent river trip. The 
jacket is roomy enough to wear over a 
down vest, but the cuffs will close 
tight to your wrists with Velcro strips,, 
There is a drawstring at the waist to 
keep cold wind from chilling your back 
and the hood fits up to your nose and 
down to your eyebrows, keeping even 
your face warm. The fabric is wind- 
proof and waterproof yet porous so 
you don't get overheated as you would 
if wearing an airtight garment. 

My son admired my coat so much he asked 
me to make one for him. I told him, 
"You can read. Here is the catalog. 
Order your own kit and sew, man, sew," 

(For Catalog write: Frostline Kits, 
Frostline Circle; Denver, Colorado, 
80241 ) 

STATEMENT by Joyce Chizuko Morishita 

We all choo 
communicate with 
others. Some of 
or dance. Others 
symbols. For me, 
fascinated by the 
of paint itself, 
color. Color has 
mystical power, 
drawing and adds 

se a language to 
ourselves and with 
us speak with music 
might use words or 
it is paint. I am 
physical quality 
and of course, its 
a magical and 
It gives life to 
spirit to composi- 

Painting is a discipline, a 
most demanding one. One hopes how- 
ever, that it does not begin as a 
discipline but rather a fascination 
or magical existence, removed from 
reality but yet firmly bound to it. 
Discipline is not forced, nor is it 
restricting. Quite the contrary, it 
gives freedom to create c It develops 
naturally as the demands of painting 
are more clearly understood. Gradually 
painting becomes totally natural and 
essential. It becomes the pivot around 
which life evolves. It helps to place 
us in the continuum of human existence 
and gives meaning and structure to 

My paintings are usually abstract 
although I do, from time to time, re- 
turn to representational forms, espec- 
ially the human figure. Most recently, 
I am painting the rituals and ceremon- 
ies of life and transient states of 
being, especially the dream and memory. 
I notice that my response to the com- 

plexities and confusion of daily life 
varies. At times, I achieve harmony 
with the madness by joining it and 
becoming part of it. At other times, 
I achieve a balance by seeking a 
serene expression. The appearance 
of the work may differ, but the intent 
is the same — to achieve harmony with 
myself and the world I live in. 

My working methods are simple. 
Ideas are first developed in drawings, 
watered ors, and sometimes haiku . 
Each has its own existence but also 
adds to a fuller, more developed idea, 
the painting. My paintings are usual- 
ly part of a series , Often I work on 
two or more series simultaneously. A 
series or body of related works enables 
me to explore a subject more fully. 
For often at the onset, the idea is 
vague and less apparent. Painting, 
especially a series of paintings, makes 
the intangible tangible and helps to 
give form and structure to the ambigu- 
ities of life e 

Painting and other creative acts 
are liberating experiences „ They free 
ourselves of ourselves, and we lose 
ourselves to find ourselves „ We leave 
the world only to discover it„ At 
times, the painting flows freely as if 
the spirit and mind existed in the 
hand. There is a true harmony between 
the artist and the work, as one might 
hope to achieve with the universe,, It 
is a rare experience of oneness, and 
it is, I suppose, why some of us paint 
or do other creative work» 

by Sandra Sal us Kamp 

My paintings express what I 
feel and think. They enable me to 
creatively communicate the inner 
visions and colors that I see in my 
mind's eye. My oil paintings are 
portrayals of various feelings and 
atmospheres. They are concerned 
with the creation of form and environ- 
ment as a whole rather than separate 
entities. Some of the personal images 
are organic. Some are distinct. Many 
are subtle, blending into the invented 
environment. Some environments and 
forms may appear to have a water-like 
world or air-like sensation. There is 
involvement with color, paint, and 
brush strokes, which all have a free 

feeling. The techniques are mainly 
opaque and impasto with some wash. The 
paintings are alive with movement and 
energy. They are what I envision when 
I describe feelings and atmospheres. 
Each painting has its own state of 
being, where it exists with its own 
characteristics, yet the paintings 
may have relationships with each 
other. They were brought down to their 
simplest statements and became more 
subtle. Each conveys the emotional 
experiences to the spectators and thus 
involves them. I enjoy getting into 
the process of painting, being able 
to express with a free feeling, yet 
with control. 

STATEMENT by Julie Haneman 

As I became involved with the 
art of the North American Indians, I 
began to feel a dissatisfaction with 
the confines of the rectangular canvas 
stretcher. This led me to search for 
new ways to paint on canvas while 
retaining a less rigid structure and 
feeling c In order to accomplish my 
goal, I realized a need for different 
materials and methods. I found myself 
sewing muslin, chiffon, rice paper, 
velcro and may other unusual materials, 
I was pleased with the new freedom I 
felt. My icons seemed to evoke a 
magical, mystical power c I was inter- 
ested in expressing my thoughts about 
the unity and harmony that binds all 
living entities,, Surprisingly, it 
is the balance between opposing posi- 
tive and negative energy that helps 
to create this harmony. Breaking up 
large contours into smaller areas and 
sewing them back together physically 
emphasized the fact that the whole 
can not exist without the act of join- 
ing„ This also enables the viewer to 
understand the anatomy of the piece. 
In other pieces, layers of fabric are 
pulled apart or cut into, in order 
that the inner being might be exposed. 

I have only begun to realize 
the significance of ritual in my life 
and work. "Tucumcari", my latest oil 
painting is a two dimensional altar. 
In this painting, mountains, rainbow, 
earth and sky are represented. On 
a conceptual level, I am speaking 
about the act of nurturing children, 
one's identity and one's life to make 
it meaningful. The pyramid forms 
protect a precious essence,. This 
essence, although unknown, is tangible 
and accessible. 


by Kathleen Crowley Cothroll 

I have only recently begun to take 
myself seriously as an artist. This 
realization has been one of the most 
exciting and fulfilling experiences 
in my life B The urge to create grows 
stronger by the day. 

While this stimulation invigorates 
me, it also opens my vulnerabilities. 
Each painting is a mirror of my emo- 
tional state at the time of the crea- 
tion. It is unnerving at times to 
bare one's soul for all to view, as 
interpretations are often quite the 
opposite of the intended or even the 
unconscious state of my feelings. 

Moved by visual encounters with my 
motifs, i.e. flowers, birds, human 
figures, I re-interpret these forms, 
adding more life or motion to them. 
For me, the bird is expressive, power- 
ful, graceful, free; flowers symbolize 
softness, beauty, feminity; and woman 
is the symbol of birth, re-birth and 

Equally important to the imagery of 
my works is the lighting, which per- 
haps might be viewed as unnatural and 
at times almost celestial 

iimo5t ceiesticiio It empha- 
sizes the energy force I wish to cap- 
ture in my works. 

Another underlying theme in my paint- 
ings and drawings is the unity or 
interdependence of life forms as well 
as the similarities in organic shapes. 
Combined with the often airy and fragile 
qualities of my forms is the feeling 
of brevity, the inevitability of change 
or dying out, a brief interruption of 
a more enduring state of life--TRANSIENCE, 


by Barbara W. Graham 

I began to develop my painting by 
experimenting with tv/isted forms in 
space. While studying El Greco and 
Turner, both for content and color, 
I painted my own feeling of depth in 
atmosphere with play of light and 

The Masters' handling of drapery and 
the floating forms of figures seen in 
religious paintings became inspirations 
for my abstract draping of shell -like 
forms. I also became interested in 
changes of texture within a painting. 
At times I used a heavy impasto, com- 
bined with very thin glazes of paint c 

A strong force or direction of dynamism 
seemed to evolve when my work became 
more activated with forms in atmosphere 
using the elements of fire, wind, 
air and water. Finally my painting 
took on a cosmic, atmospheric feeling 
with sensual vibrations. 


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by Lynn Thomas Strauss 

Judith Lacaria first experienced a 
love of printmaking while an art stu- 
dent at University of Wisconsin, Madison. 
She found her drawings , when printed, 
took on a new strength. In that strong 
image she discovered an important part 
of herself. Lacaria likes the technical 
aspects of art as well as the spontaneous 
aspects and she loves working with print- 
making equipment — manipulating and test- 
ing its possibilities. "While I don't 
separate the technical from the creative 
process, I enjoy that phase when some of 
the creative work is done and the hands 
take over — allowing the mind to soar," 
says Lacaria. Her eyes light up with 
excitement as she talks about using the 
huge presses. 

Much of Lacaria' s early work was social 
satire in nature and "printmaking," she 
says, "is traditionally art for the mass- 
es — a social commentary in original fine 
art form that the average person can 
afford". One of her prints is a sympa- 
thetic treatment of the Chicago Seven 
Trial and Lacaria was pleased to person- 
ally present one of the eight copies of 
this print to Tom Hayden when he spoke 
at Governors State University in 1979. 

Lacaria has always been an artist of 
great versatility. As a child she was 
the class artist, doing the costumes 
and the prom decorations. SHie hung around 
her father's workshop borrowing tools 
and supplies for her continual projects. 
He was a good craftsman and from him she 
learned to work carefully and with 
precision. She remembers making movable 
toy circuses and greeting cards with all 
kinds of in-lays and pop-ups. She has 
always felt that "anything I can draw, 
I can build and make work". Lacaria 
says she tends toward 11th hour solutions 
for design problems and will often work 
till dawn if things are going well. 

In her professional career she has, 
in addition to print-making, done paint- 
ing, publications design and illustration, 
advertising display construction, costume 

design, set design and construction and 
typography. The artist's plans for the 
future are as richly varied as her history, 
She describes herself as an observer of 
human nature with a special interest in 
how things work. "Ideas come to me in 
titles," says Lacaria, " I rummage 
around in my mind and lists come out". 

Judith has experienced the last year 
as a time of introspection and transition. 
She feels inner preparation is leading 
her to some new form of personal expres- 

Spending even a brief time with Ms. 
Lacaria, I found myself exhilarated by 
her energy and enthusiasm. Along with 
the technical information that she so 
succinctly communicates, I felt the 
force of her excitement and her love 
for her art. 

Lacaria radiates energy and in fact 
one of her most fascinating series of 
prints is a study of the form and textures 


of the pyramid shape which she calls 
"Energy Forms". The pyramid is one of 
many symbols that re-appear throughout her 
work. She responds to the energy and 
spirituality of the pyramid and enjoys the 
design possibilities inherent in its form. 

She also loves to recycle symbols, ideas 
and pieces and has done some exciting wood- 
cut puzzles with interchangable pieces. 

It is easy to see how Lacaria's energy 
and enthusiasm combine to make her a 
dynamic and skillful teacher. Lacaria says, 
"I love teaching art because there truly is 
a meaningful exchange between student and 
teacher". "In helping students to see 
what they can't see... in stimulating their 
growth, I participate in yet another crea- 
tive process. It's meaningful work and 
it's a chance to impart something philoso- 
phically as well as artistically—it's a 
chance to expand the knowledge of the 
uni verse" o 


By J. Lacaria 



by Lynn Thomas Strauss 

For Melinda Sue Myrow, an artist 
living in Park Forest, Illinois, the 
perfect life would include an isolated 
studio and loft apartment, a mentor, 
and half the year spent in a purge of 
social activity with the other six 
months devoted entirely to painting 
and print making,, 

Sue is a young, attractive painter/ 
print maker who though somewhat timid, 
radiates self-confidence and warmth. 
There is in her penetrating green gaze, 
a hint of the depth of her artistic 

Sue's inspiration is the human body 
and its many faces; so contact with 

people is essential, Reading is also 
an important source of images, 
"Whatever I'm doing, images are building 
up," she says. "I don't analyze or 
think about what I do." 

"My art is a form of total personal 
self-expression. It is the process 
that is important. Once the product 
is completed, I generally have no 
interest in it," 

"The whole beauty of being an artist," 
according to Ms. Myrow, "is learning 
on your own — constantly discovering 
and comparing images and seeing how 
they blend together." 

Sue paints in water color because 
She finds it involving. She is mesmer- 
ized by colors and forms, "Water color, 
while it can be a technically difficult 
medium, is also beautifully tender and 
fluid — new images develop as I work," she 
states, "I work toward a balance between 
controlling the medium and having the 
medium control my work," 


There is a warm engrossing sensuality 
in Ms. Myrow's work c She is concerned 
with skin against skin and how that feels, 
and how certain body parts mix or fit 
together. Sue describes it as "lips 
on lips — cheek to cheek — like Siamese- 
twin cherries — my whole being responds 
to that look." 

As I viewed Sue's work I experienced 
a sense of vitality and depth of meaning. 
The longer I looked, the more I saw e 

Sue does feel that art should be 
'meaningful'. "I respond," she says, 
"to art when I feel it is from the heart; 
it can be admirable technically, but if 
it doesn't strike a chord—it's useless " 

I also appreciated Sue's use of color,, 
Her pastels are strong yet muted,, And 
much of her work has a suggestion of 
humor about it„ While there are recurring 
themes in Sue's work, each piece is 
quite different from the rest,, Though 
Sue told me that she loves print making, 
I was more drawn to her water colors,, 

Living and working in the south 
suburbs, Sue has felt herself connected 
to, and supported by, a local concern 
for artistic development. She has 
exhibited at the Park Forest Art Center 
and the Park Forest Art Fair and she 
received a talent scholarship at Gov- 
ernors State University. She also has 
work on display in the Rental Sales 
Gallery of the Art Institute in Chica- 
go. Her greatest encouragement came 
from her father, Gerry Myrow, who was 
a composer, musician and teacher of 
music, and her mother, Beverly Myrow, 
a harpist and teacher. 

In spite of this support, the diffi- 
culties of an artist's life are formid- 
able Finding a place to work and paying 
the bills are only the beginning,, As 
Sue says, "it can take months to complete 
a painting. As I work I am either elated 
or depressed about the results,, The high 
cost of art materials is very inhibit- 
ing c I want to experiment with a par- 
ticular image again and again, but I 
can't afford the paper required for 
creative experimentation,," 
Then when the work is finished, Sue must 
be her own salesperson,, She finds 
self promotion very difficult and time 

Fortunately Sue continues to work 
in spite of these difficulties. Both 
as an artist and a person Sue has a 
great deal to give. Spending an 
afternoon with her and experiencing 
her work, I was struck by her sincer- 
ity, her unfolding talent, and her 
determination to suceed. 



COSMOSIS: An Interview with Marlena 

by Lynn Thomas Strauss 

It often seems that expanding a 
hobby into a vocation can result in 
a more fulfilling work life. If this 
sounds easy, then talk to Marlena 
Chandler, graphic artist designer liv- 
ing in Park Forest South and working 
in ICC at Governors State University- 
discover how hard it really is. Marlena 
has taken the centuries old tradition of 
Tarot and experimented with an original 
and revolutionary interpretation. Intro- 
duced to Tarot by a friend ten years ago, 
Marlena has gone on in her study of 
this ancient art of prediction. Tarot 
uses a set of cards to project what 
might occur for either good or ill in 
a person's life. There are a variety 
of possible Tarot readings such as a 
reading for an immediate problem, a 
7-day reading, a monthly or a yearly 
reading. Because there are many vari- 
ables and since the ancient Tarot Cards 
were designed so long ago, the complex- 
ities of our modern society are often 
not reflected in those cards. To re- 
solve this, Marlena has applied her 
artistic abilities to the creation of 
originally designed Tarot Cards, which 
she calls COSMOSIS. Hers are a modifi- 
cation of the visuals of the original 

designs. Her designs are etched and then 
printed. COSMOSIS cards are designed 
for positive readings and the beauty 
and symetry of design certainly evoke 
a peaceful and positive response. Her 
work is quite detailed and each card 
represents hours of careful design and 
experimentation. Marlena experiences 
Tarot as a form of meditation: "It 
helps you see yourself and your rela- 
tion to others more clearly." 

Marlena' s Tarot Cards reflect a 
balance of the fine arts and aspects of 
modern design. "It's the achieving of 
this balance that makes the work so 
difficult and so experimental," says 
Ms. Chandler. 

Marlena, being a quiet rather re- 
served person, doesn't talk easily 
about herself,, But she is generous 
in her praise of those who 
ported her in her artistic 
In her list she includes a 
art teacher, her parents, 
school teachers, an uncle whose hobby 
was silk-screening, a scholarship pro- 
gram at the Art Institute, and most 
especially Judith Lacaria, art profes- 
sor and teacher of printmaking at 
Governors State University. Chandler 
says, "Ms. Lacaria 's technical know- 
ledge and her demand for high quality 

have sup- 
grade school 
some high 


work have been very influential 
my artistic growth." 


Marlena also stresses the signifi- 
cance of GSU as an artistic resource 
in the south suburbs. "Printmaking 
requires huge, expensive equipment and 
GSU is the only place where I have 
access to the equipment necessary to 
pursue my art form," states Chandler. 

Marlena's blending of artistic and 
psycic abilities is interesting and 
unusual. There are 78 Tarot Cards 
in all. So far Marlena has completed 
22 Cards in her original design. 
Rather than feeling overwhelmed by 
the scope of the task she has set 
herself, she seems quietly determined 
yet flexible in her expectations of 
completion of this engrossing work. 
She hopes to continue her struggle 
of blending the graphic and the fine 
arts, both in her employment and in 
her artistic endeavor. 



Local artist Mary Mai one of Park 
Forest makes her living as a free 
lance graphic artisto Comfortable 
in a variety of media, Mary primarily 
works with prints, landscapes and 
calligraphy„ The artist was educated 
at the University of Kansas, where she 
earned her BFA in painting,, After a 
period of retirement to raise a family, 
Mary returned to school to study under 
Judith Lacaria at Governors State 
University, where she received her 
MA in printmaking in 1979, and worked 
as a graphic artist in the Instruction- 
al Communications Center . Mary con- 
tinues her association with the Univer- 
sity through several free lance pro- 
jects each year. She also teaches 
calligraphy at the Park Forest Art 
Center and the Jewish Community Center 
in Flossmoor 

Mary has exhibited in the Chicago 
area at Tolentine College (1980) with 
a one woman show of prints and land- 
scapes— "Studies of Stuba Pond"— for 
which she won an honorable mention » 
Her works have also been shown at the 
Park Forest Art Gallery, Park Forest 
Art Fairs, the Northwestern University 
Library (with the Chicago Calligraphy 
Collective exhibit) and can currently 
be seen at the Trochtenberg Gallery 
in Merrilville, Indiana. 

Since her student days, Mary has 
been facinated with the GSU campus 
grounds, especially Stuba Pond, which 
she describes as "a magnificient area". 
She sees the site as the focus of a 
possible study called "the artist meets 
the environmentalist" and has worked 
with environmentalist faculty member 
Tom Mule' on a GSU Nature Trail Guide. 
The brochure identifies through 
drawings and text flora growing along 
the nature trail which is located on 
the GSU campus. The relationship 
of artist and environment is a special 
concern of Mary's— one she would like 
to explore through future study of 
this area in paintings and drawings. 

The site chosen by sculptor Mary Miss 
(see cover and p. 20-21 ) adjoins The 
Nature Trail and is an advanced expres- 
sion of what Malone might mean by "the 
artist meets the environment". 



Whether a fabric is soft, scratchy, 
coarse or flimsy has always made a 
difference to me. I was the little 
person in an elevator that always 
wiggled my way over to stand beside 
the lady in the fur coat or mohair 
jacket so I could touch or at least 
get my face close to the fabric. As 
a child I drove the sales clerks in 
yardage departments crazy. To this day 
I can't walk by bolts of fabric without 
touching every single one c I'm sorry, 
I just can't help it. It's not too 
surprising that I was knitting by 
5 or 6, embroidering pillowcases by 8 
and sewing my own clothes by the time 
I entered high school. 

I guess I always had an interest in 
textiles and I leaned on my tactile 
sense more than I realized. Working 
with my hands in a creative way is a 
very important part of my daily life. 
If I go a few days without working on 
a project I get anxious, frustrated and 
as my kids say "cranky". Working on a 
weaving, spinning some wool, picking 
up some creative crochet or needlelace 
will improve my disposition every time. 
I take my work seriously and it means 
far more to me than a casual hobby. I 
study, read and want to understand how 
an eleven-strand African braid works, 
or how certain bobbin lace patterns are 
formed, or how to loop heavy cord to- 
gether to make a hammock. Searching 
out and solving an unknown process re- 
quires imagination and creativity. Fig- 


uring it out results in satisfaction 
and sometimes leads to some other infor- 
mation or technique that was not antici- 
pated. These "surprises" keep my work 

Keeping many kinds of projects going 
at the same time— all the time--is 
necessary for me My notebook, filled 
with ideas for future projects, seems 
unending. The new ideas never stop 
coming. I care about the things I pro- 
duce — but my real joy and excitment 
revolve around the process of my work„ 

Kan.e.n Page. is a ^ibeji aAtist cuAAe.ntly 
Miking on a masteA'6 degree in ant 
history with an emphasis in primitive, 
anjt at GSU. She. le,ctuAes and> 
in the. Chicago oJie.a and has 6tuctte.d in 
Afghanistan, Pakistan and China, She. 
is maAJiie.d and has tvjo te.c,nagexs and 
lives in Oak Forest, l&t. Hex work 
is displaye.d in many businesses , ofi&ice 
buuLtdingA, modeJt homes and private, 
residences . 


"Field Rotation," a site specific sculpture by Mary Miss, August, 1981, Governors State University 

Photographs by Karen Deslierres and Buzz Hume 


'Field Rotation," a site specific sculpture by Mary Miss, August, 1981, Governors State University 

v. ! ■ 

> , dJi—^'aWr— .- " ' ■■,*«*»•"'-' 

Photographs by Karen Deslierres and Buzz Hume 


address by Nancy M Haegel 

Mr c President, Father Mesburgh, all 
of you who have come to celebrate with 
us today, and, most especially, my 
fellow classmates: 

Today has been an emotional day for 
me, at the end of a very emotional 
week. It seems that everything that has 
happened has happened for the last 
time, or for the first time. This week, 
for the last time, I walked around this 
campus as if it were truly mine e Still 
wearing my band jacket and jeans, still 
possessing a key to a dorm room in 
Breen Phillips, I clung to my status 
as a student. For the first time, how- 
ever, I have on my desk a piece of lit- 
erature from the alumni club; and I can 
no longer deny that it has my name on 

This morning, for what I hope was the 
last time for awhile, I woke up six feet 
off the floor in my bunk bed and looked 
around my dorm room. It clearly occur- 
red to me for the first time, however, 
that I am hoping to move into an unfurn- 
ished apartment soon; and one yellow 
beanbag chair and a stereo will no long- 
er suffice. I don't know if you have 
shared these experiences, but there is 
one thing we all have in common today . 
Our degrees will soon be conferred. It's 
over. One goal has been met, and we 
have been celebrating that fact now for 
almost two weeks c 

Graduation is a common dream that 
has become reality for the class of 
'81. But as a community, we have shared 
many other hopes and visions that are 
far from being realized in our present 
world. We have hoped and prayed for a 
world at peace, a world where we share 
what we have, a world where we treat 
one another with respecto This is a 
simple hope, easily stated; but we live 
and work in an extremely complex world - 
a world often at war, a world that often 
disregards the dignity of the individual. 
If we have learned anything in our study 
here, we have learned that there are no 

simplistic solutions for most of the 
situations that lead us to war and injus- 
tice. In our society, causes are often 
hard to pinpoint, and effects are unpre- 
dictable We see yesterday's solutions 
become today's problems, and the future 
promises to hold much more of the same 
Sometimes, in the midst of all this, it 
seems that there is no place for simple 
dreams or youthful dreamers in the so- 
called 'real world.' 

I refuse to believe that this is true 
Just because the vision we hold at 
Notre Dame cannot be easily achieved 
does not mean that it is any less worthy 
of our belief and our dedication,, We 
have studied at a special place, a place 
where people are not afraid to dream 
and to commit themselves to making those 
dreams come true c Now it is time to 
leave the place behind, but the vision 
is ours to keep and it has been entrusted 
to our keeping. Our only hope of combat- 
ing violence and injustice, our only 
hope of turning our prayers into reality, 
is to plunge completely into our complex 
and hurting world - and to carry our 
simple dream right in with us. 

I believe that our greatest hope and 
vision - our greatest dream - is for a 
world where life is respected as the 
gift that it is e The education we have 
received has allowed us to see ourselves 
as part of a world community, to recognize 
that the boundaries of both our influence 
and our concern go beyond the limits 
of our community and our nation. We need 
to realize that the wasteful loss of life- 
whether it occurs in a speeding car or 
at the barrel of a gun, whether it is 
performed by an individual in the name of 
revenge or by the state in the name of 
justice, whether its victim is a class- 
mate of ours or a peasant in a small 
foreign land - is a loss we all share. 
In the eyes of the Creator, there is 
never any question of "them or us H We 
are one body and we suffer together, most 
often from self-inflicted wounds „ Our 
simple hope is that someday soon we will 
stop hurting ourselves. At Notre Dame, 
we continue to believe together that this 
can happen; we continually remind our- 
selves that it doesn't have to be the 
way it is. 


A world where life is respected means 
much more than simply the absence of 
violent action and death. It means the 
presence of an environment that allows 
and encourages all people to live rather 
than to merely existo If we look at 
our world and our society, I think we 
have to admit that such an environment 
is not widespread,, We need to work to 
transform those structures and systems- 
be they economic, political, social — 
that prevent people from living their 
lives freely and fully I found that a 
frightening thought when I first encoun- 
tered it; and I still do to some extent,, 
I have benefitted and felt secure under 
many of the same systems that enslave 
and victimize other people. But I must 
struggle to not let that security blind 
me. Often in our study of history, we 
look back on instances of slavery and 
injustice and we think, "How could they 
do that? How could they be so morally 
blind?" Such hindsight, however, is 
only valuable if it gives us the courage 
to see the suffering people who are now 
hidden in our moral blindspots Q Our 
theme is not merely live and let live - 
but live and share life fully. 

Thus, we have a vision of a world 
where life is not wasted, and where it 
is allowed to blossom to the full. And 
we are not alone. This has been the 
vision, the simple dream, of women and 
men throughout the ages„ 

As graduates of the University of 
Notre Dame, it is both our gift and our 
challenge that we are in a position to 
do much more than just envision such a 
world. We have gifts with which to 
speak and write, experiment and apply, 
envision and create. Our use of those 
gifts will influence the lives of many 
people,, Eo F Schumacher wrote a book 
entitled Small is Beautiful and he 
subtitled it "Economics as if People 
Mattered." I would suggest that we 
could also appropriately speak of 'en- 
gineering as if people mattered, medicine 
as if people mattered; teaching, business, 
writing, research, ministry of any kind- 
as if people mattered.' All our works, 
all our gifts have the potential of 
contributing to the protection and enrich- 
ment of life. 

There's a line from a folk song that 
captures the spirit with which we leave 
Notre Dame„ It's one of my favorite 
songs, and it ends with the words: 

for our hands are strong 
And our hearts are young 
And the dreamers keep dreamin* 
ages long. 

The world always seems to be waiting, 
ages long. But there are parts of it 
out there, places where you and I will 
go, that have waited long enough. It 
is time to commence „ 

* Commencement address given in June 1981 
at Notre Dame Univeristy. First published 
in Notre Dame alumni magazine. 



Dear Sirs, 

We would be very glad to receive a re- 
by Ruth Bleier, which is in The Creative 
Woman Quarterly Vol. II, No. 4, Spring 
1979. We are programming a next issue 
of our Journal entirely dedicated to 
Women and Science. And we believe 
that reading and discussing this text 
will be very interesting for us. 

Yours Thankfully, 

Marina Valensise 

NUOVA dwf 

quaderni di studi internazionali 
sulla donna 


Thank you faon. mating to a6. We axe. 
deJLighte.d to you. waMi ft*. KLzajw? h 
article.. But taukzA to Italian ^ertun- 
Uitti in theJUi <LUcu6&i.on o£ women and 


Dear Dr. Hughes, 

Having enjoyed The Creative Woman 
from its inception, I am happy to see 
it thrive and progress. I believe it 
fulfills a very special function within 
the women's movement information eco- 
system: in its range, its openess, and 
a kind of beneficent ecumenism of the 
intellect. It energizes and promotes, 
rather than putting-down. 

For a long time, I have been wanting 
to write and offer my services, if I 
could be useful to you. I believe an 
issue on "Women and the Law" would be 
valuable. . .not the usual thing, focusing 
only on the ERA or equal pay, etc., but 
a well-rounded, mixed media look at women 
in the legal profession (as judges, 
attorneys, paralegals, secretaries), 
a deromanticizing of the cultural role 
of the attorney, a look at the most 
significant legal issues for women in 
the balance of this century, a few poems, 
some art... I can see this clearly in 
my mind, and believe it would be a 
great issue, do-able by Spring of '82. 
It is a subject you have not done (in 
fact, I have never seen it done any- 
where in the way I am describing it). 
I think it would be interesting, relevant, 
and accessible to all readers, from 
various disciplines, in a way that much 
of legal literature is not. I am very 
enthusiastic about both the subject 
matter and The Creative Woman itself. 
I would really love to edit this issue 
for you. 

Sincerely, TT^ — ■ 

Joanne R. Creager 

VouA znthu&<la&m u> contagion* ! I am 
alAdady ceAtatn that thU mXZ be, one. 
ofa ouJi vojiy but LbAueA to date.. 

ContnLbuLtion* may be. i>e,nt to The, 
Cn.e.ative. Woman e.ditoKlat o^tce, 
ok to Joanne. dKecgex, 280 & 
Vnive., SacJiame.nto , CA 95S33 
phone, (976) 922-4539 


A Report on The Gathering 

by Helen E. Hughes 

It takes eight hours to drive from 
Chicago to Saint Peter, Minnesota, 
through 460 miles of America's bread- 
basket; northern Illinois, Wisconsin 
and Minnesota are green and fruitful. 
As one zooms past miles of green corn 
and soybeans, there are also the amber 
waves of grain, and always, on the hor- 
izon, the assertive gestures of silos. 
On a Sunday evening, the small town is 
already buttoned up for the night, the 
streets dim and silent, not a person 
in sight—until one turns into Third 
Street and finds oneself in the midst 
of a Fellini film: the street is full 
of carnival figures, masks, painted 
faces, flowing diaphanous costumes 
and eccentric images. Yes! The Gath - 
ering . One drowning Ophelia, her face 
painted in six colors, behaves exactly 
like a registration clerk at any scien- 
tific convention, however, in the bus- 
iness-like way she enters my name, hands 
me my packet of materials, name tag and 
key to my dormitory room. 

Saint Peter is a town of 4000 souls, 
if you don't count the residents of the 
mental hospital or Gustavus College. 
The theatrical groups that have arrived 
here from all parts of the country, mak- 
ing parades, making music, staying up 
late and celebrating the intense excite- 
ment of this event must create shock 
waves in this quiet town. The word is 
that most of the townspeople, especial- 
ly businesses, welcome the trade of the 
visitors, but that there is a small 
"anti -Gathering" contingent, expressing 
the classic zenophobia of small towns. 

It is a lot to absorb. Eighteen thea- 
trical groups are here, and we are issued 
tickets to eighteen performances over 
eight days. Productions are staged in 
the evenings. During the days, workshops 
and discussion seminars meet, films are 
shown, lectures heard. The energy is 
tangible as several hundred talented 
young people engage themselves, their 
techniques, their creative juices, and 
each other. Along with an atmosphere 
of intense aliveness, one notes the 
open friendliness and courtesy that is 
the norm: everyone speaks a welcoming 
smile to everyone else, except for 
those who are shouting their joy amid 
embraces arid cries of "BARBARA! YOU 
CAME. YOU DID!" It comes as no sur- 
prise that actors are exceptionally 
attractive people. The group also in- 
cludes mature scholars and intellectu- 
als, writers, activists, poets and art- 
ists. I knew Tecla was there before 
I laid eyes on her, having spotted her 
graphics in the corridor, and recogni- 
zing them from the UN World Conference 
on Women in Copenhagen, where she ex- 
hibited her powerful human portraits. 


High points of the daytime seminar- 
workshops for me were all presentations 
by women. Karen Malpede, editor of 
Women in the Theatre: Compassion and 
Hope , spoke on "revitalizing Ritual 
and Myth." In her brilliant lecture 
she traced the roles of women from 
Greek tragedy to contemporary roles 
as a turning away from violence. She 
defined ritual as "the collective 
utterance of desire." 

Deena Metzger, a poet from Topanga 
Canyon, California, described her work 
with cancer patients and traced the 
relation between silence, repression 
and cancer. 

Louise Bruyn, of the American 
Friends Service Committee spoke on the 
uses of ritual , image, symbol and myth 
in empowering the feelings of hope that 
are prerequisites to the search for 
peace. Bruyn described the situation in 
which we find ourselves now on this planet 
as a crisis of danger and opportunity 
and asserted that "we are in the birth 
canal ," and that the outcome of our strug- 
gle will depend on whether we can gather 
strength in time to stop the deployment 
of the nuclear bomb. Readers may read 
her publication "Feminism: the Hope for 
a Future" by writing to her at the 
AFSC, 2161 Massachusetts Avenue, 
Cambridge, Massachusetts 02140. 

Phyllis Wilson of Chicago put on 
an unforgettable three hour ritual, 
invoking the power of the Great Goddess, 
the archetypical feminine in each of us. 
She used music, lecture, slides, stories, 
incense, candle, a fruitjuice communion, 
chanting and fantasy. For some of those 
present, it was a life-enlarging ex- 
perience, evoking buried, latent memor- 
ies of an archaic past. We met, and 
recognized, The Goddess. 

The theatrical productions ranged 
from first class, absolutely professional 
masterworks, to hastily put together, 
not fully realized attempts at experi- 
mental theatre. There was room to ex- 
plore all stages of the arduous creative 
process involved in conceptualizing, 
developing, and staging a work of author- 
ity; there was time also for criticism 

which was sometimes educational and 
helpful, but on one occasion, brutal 
in the service of a narrow political 
ideology. Let me recommend to our 
coast-to-coast readers a few produc- 
tions in the "don't miss" category. 
Jewish Theatre of Los Angeles, begins 
by recollecting the Yiddish theatre 
and vaudeville, goes on to recall the 
history of the Jews and the meaning of 
Jewishness today, and ends by somehow 
showing us what it means to be human. 
Corey Fischer and Albert Greenberg are 
superb artists, whose range and polished 
mastery of rhythm are stunning. Also 
in Los Angeles, see The Provisional 
a pungent, wry look at a few memorable 
"ordinary people." This group writes 
all its own script and music, intended 
to reflect and to change the world. In 
their words , "living and working in a 
land where loneliness, alienation and 
cynicism are becoming all too familiar, 
our works are about spirit, hope and 
potential ." 

A New York City Group, Talking Band , 
put on a dazzling music and variety act, 
W0RKS0NG, contrasting the lives and idees 
of John D. Rockefeller and Frederick 
Winslow Taylor, (the inventor of time- 
motion studies and "scientific manage- 
ment") with the actual lives and thoughts 
of workers in the tunafish canning fac- 
tory, sales offices, lunchroom and 
docks. Hilariously funny and biting in 
its sarcasm, this group marked a high 
point. They are managed by Performing 
Arts Services, 325 Spring Street, NY 
10013. Other groups--"At the Foot of 
the Mountain", "Common Ground", "Heart 
of the Beast", "Word of Mouth", "Otra- 
banda" performed when I was unable to 

A tragic event occurred when Ken 
Feit, on his way to The Gathering, 
fell asleep at the wheel of his car, 
and died in an accident. Shocked and 
grieved, his friends formed an impro- 
vised group and put on his event , THE 
FOOL AND HIS VISION as a memorial. In 
an astonishing tour de force , one by 
one, fourteen people sang a song, told 
a story, or danced a haiku they had 


learned from Ken. A sample of a 
danced haiku? 

"Since my house 
burned down 

I now have 

a better view 

of the rising moon." 

The character of the lost friend 
emerged powerfully as a person of bright 
wit and humor, deep spiritual commitments, 
and unusual gifts. In the registrants' 
list, Ken Feit had described himself with 
a characteristic unique flair: "I am an 
itinerant fool and story-teller who travels 
throughout the world conducting workshops 
in symbol /myth/ritual consciousness and 
performing allegorical mimes, fairy tales, 
creation myths, sound poems and other 
stories that attempt to awaken, disturb 
and heal. Hollawhaloopity!" (Without 
knowing it, had he written his obituary?) 
His presence was somehow sensed at the 
midnight performance, ending with a 
candlelight procession and the singing 
of "Simple Gifts." 

The abundance that flows from the 
farmlands of our midwest provides the 
setting, but that material abundance 
is nothing, compared to the richness of 
the talent of our people. I saw and 
witnessed only a small fraction of what 
went on at The Gathering; and what was 
there is a small sample of the beauty, 
talent, brains, artistry and genius of 
Americans in the performing arts. 

One concludes that our changing 
society, turning from a concern for 
human needs toward an emphasis on 
military strength, is in danger of 
losing the values and experiences 
that can make us a truly mature 
civilization. The performing arts have 
a dynamic role to play in the great 
unfinished task of helping a people 
to define its humanity. 

Much credit is due to the people 
of The Cherry Creek Theatre of St. 
Peter, who organized The Gathering. 
Alixa Schultz, David Olson and friends 
worked for two years to make it 
happen, funded in part through a grant 
from the Minnesota Humanities Commission 

We call upon all 
cultural workers — in 
the studios, the farms, 
the lecture halls, the 
factories— to join the 
men and women who 
work in the theaters at 
a gathering in August. 
We meet in the heart 
of the land... to learn 
from each other, to 
speak out collectively, 
to tell the stories that 
need telling, sing the 


oM^l v* 



(On Writing Poetry) Via Bonito ' 17 / A 


I. The Birth of Rain 

oeed-shells of thought come tumbling down, 

like golden drops drizzling 

from the sky. They fecundate 

and grow green, mature 

as they tumble across shores 

of blank paper, 

as they move like the rough fingers 

of foam remembering; 

turning, weaving, washing: 

leaving a wake 

of colors. 

The golden sprinklings flash red and disappear 

along the summer shore; the pulsing of tides 

ebb nearer 

into the shallow bright glow 

of the moon. 


darkness reaches out 

creating lone shepherds. 

A memory is being made 

of seeking shapes in the sky 

for comfort, a solitary song 

begins to twinkle 

against an infinity 

coming under control. 

II. The Shadow Before Dream 

oloth creeps in shadows deeper 

than those between stars. 

It mans the myriad cells 

of the wanderless ghost-ship mind, 

caving into itself; 

caving into its dreams 

of past voyages 

that never were. 

The cerebral rain calms 
into an infinity of waves 
blurring in the distance: 


the hand slumbers 
against the dizzying drone 
of conches; against 
sea-roar, siren-call, 
and dream. 


Via Bonito, 17/A 

III. The Opening of Doorways 

Time sifts the seas 

while flames 

twist through the tendrils 

of a night-blooming cereus: 

a slow flood of images rises 

inside, rises 

to the soundings 

in a depth of sleep; 

to the opening of doorways 

in a misty corridor. 

The images shape themselves, 

breaking into birth across shoals 

of fresh paner, dragging tides of ink 

behind them. 

They are seeds cracking 

their pods, stretching 

through the earth 

to open the doorways 

of other corridors 

with the sun: 

a sun giving reflection 

to a moon 
of light. 









PARTICIPATE in the compiling of a 
collection of women's writings about 
abortion. First person narratives, 
poems, line drawings, any direct and 
honest expression of an abortion 
experience is welcomed. This book will 
be helpful to many women and men trying 
to understand abortion. Many women 
feel the need to share their experience, 
writing about it can help. (You need 
not use your own name). Write for 
further information or send your 
writings to: Susan Bagby 332-B Trescony, 
Santa Cruz, CA 95060 



Gallery 2, Suite 3 300 Plaza in Park 

Forest, II. thru September 

Chicago's two feminist bookstores will 
open annexes this fall on South Dearborn 
Street in the loop near the site of the 
exhibit of Judy Chicago's Dinner Party, 
opening on September 13, 1981. 

Jane Addams Bookstore (established in 
December, 1976, and now located at 5 South 
Wabash, 15th floor) will have a store within 
The Dinner Party exhibit store at 714 South 

Women and Children First (in business 
since November, 1979, at 922 West Armitage) 
will open a store at 731 South Dearborn 
on October 15, 1981 in conjuction with 
Some Girls--A Celebration of Chicago 
Women Artists, an exhibit complementing 
The Dinner Party while paying tribute to 
the excellence of Chicago women artists 


Announcements .... Announcements .... Announcements 


Work of Jane Bowles by Millicent 
Dillon Holt, Rinehart and Winston 
Works of Jane Bowles Ecco Press, N.Y. 
Book Review by Carolyn Carmichael 

Some years ago when I still kept up 
somewhat with avant-garde literature I 
read several of Paul Bowles books and 
was aware of the legend of his yery 
talented wife Jane who, it was hoped, 
would some day write and publish more. 
In 1978 an expanded collection of her 
works was published under the title 
"My Sister's Hand in Mine". It is in 
one volume of about the same length 

as Millicent Di 
life and work j 
read this excel 
ed feelings of 
skil 1 , a touch 
dislike for her 
for the deeply 
tragically prol 
Bowles, I went 
reread several 

1 Ion's study of her 
ust published. Having 
lent biography with mix- 
admiration for Dillon's 
of exasperation and 

subject, and sadness 
troubled 1 i fe and 
onged death of Jane 
back to the works and 
stories. This of 


course is what a good biography should 
do: Lead one to the work. 

On second thought I would have liked 
Jane after all, though such a moderate 
response may not have been possible. 
She was detested by some, adored by 
many. The biography is full of testi- 
mony as to her charm, her wit, her 
funnyness, her sharp intelligence. 
She was the best of companions. These 
qualities are not evident in the quoted 
letters or scraps of conversations but 
one must believe in them. How else 
could she have captured and kept the 
love and friendship of so many discern- 
ing men and women in spite of her extreme 
willfulness, her exasperating indecisive- 
ness, her anxiety induced erratic be- 
havior, her phobias, her alcoholism, 
her permanent immaturity. Here is 
Truman Capote in his introduction to 
the "Works" : "...she had seemed the 
eternal urchin, appealing as the 
most appealing of non-adults, yet with 
some substance cooler than blood 
invading her veins, and with a wit, 
an eccentric wisdom no child, not the 
strangest wunderkind, ever possessed". 

We can't have her conversation but 
we have her writing with its unique 
style, its odd juxtaposition of line 
where the wit and humor does glimmer, 
and its compassionate attenti veness to 
her obsessed women. There is nothing 
else quite like it; it is to be admired 
and enjoyed. To cavil about the lack 
of scope, largeness of vision or what- 
ever is to be ungrateful. A perceptive 
friend said of her "Jane was fundamental - 
ly-and beyond anything- interested in 
human beings and their behavior... 
She seemed at times to view life through 
a microscope and therefore see a very 
small part, highly magnified, to the 
exclusion of everything else." 

In contrast to the very spare, con- 
cise writing in the play and the stories 
some of the letters are full of excru- 
tiating detail endlessly examined. The 
discipline was severe for the creative 
writing, and apparently intolerable 
most of the time. 

Jane Bowles was born in 1917, grew up 
in New York and Long Island, the only 

child of non-practicing Jewish parents. 
Her father figures in this biography as 
a gentle man who admonished the child 
against dramatizing herself, a stricture 
which she understood as her "original 
sin" of separating herself from the world 
of reality by living in her imagination. 
Her father died when she was thirteen 
and thereafter she lived in hotels in 
New York with her really foolish mother. 
The worst thing that could have happened 
to her, she once said. An old injury 
to her knee became tubercular and she 
spent two years in a clinic in Switzer- 
land. (The knee was fused subsequently 
so she moved with a stiff-legged limp.) 
With a French tutor she read Gide, Proust, 
Celine, Montherlant. The biographer 
writes, "A remarkable release took place 
in her at Leysin (The clinic). She 
was no longer the shy withdrawn girl... 
Her imaginative wildness surfaced as 
extraordinary and fey charm. But she 
was on a knife edge, in precarious 
balance between opposing forces within 
herself. It was as if the external 
traction to which she had submitted 
was to remain within her forever." 
She now knew that she would be a 

Back in New York she did begin to 
write but also embarked on the long 
process of expunging her sin of separ- 
ateness by diving into "The World" 
by way of Greenwich Village clubs, 
alcohol and lesbianism. These pages 
are evocative of that period in the 
pre-war thirties when clubs, bars, 
sophisticated literary talk did seem 
to be "The World" compared to home 
and school. For Jane Bowles it luck- 
ily led to involvement in the art- 
literature-music salons where she met 
her husband Paul Bowles, the composer 
and writer. From here on the names 
are mostly the well known names of such 
as Tennessee Williams, Truman Capote, 
Virgil Thompson and so on. This 
baffled marriage must nevertheless be 
in many ways an exemplary marriage of 
a lesbian and a homosexual. They were 
devoted to each other, often necessarily 
separated, more often living side by 
side, disliking and distrusting each 
others' companions. Paul, the dis- 
ciplined artist, received much recog- 


nition for his music and his novels; 
Jane, the writer who hated the act of 
writing, embroiled herself with 
people and with a series of affairs 
that were usually difficult and 
sometimes destructive. The scenes were 
New York, Mexico, Paris, Morocco, and 
briefly a tiny island off Ceylon. 
Tangier became their spiritual home, 
with its international set, the market 
place and its Arab women for Jane, the 
desert nourishing the bleak nihilistic 
side of Paul 's nature. 

There used to be a hint, an innuendo, 
in literary articles that while Paul 
was the more recognized writer, Jane's 
was the more original but suppressed 
talent, the suppression being somehow 
Paul's fault. This biography should 
dispel that notion if it still exists*. 
The hint of madness was always there in 
her; her neurosis, if such it was, was 
her own as was her exploitation of it 
and her struggle against it. She receiV 
ed an amount of help, encouragement and 
critical acclaim that most writers have 
to do without, and most of the support 
came from Paul. It is one of the merits 
of this biography that the author has 
not done a psychohi story or made a fem- 
inist tract of the complexities and 
conflicts of Jane Bowles' life. Her 
explorations are sensitive and scrupu- 
lous to a high degree. She describes, 
and resists diagnosis other than the 
quoted ones of doctors. Her deepest 
insights come from an intuitive reading 
of the stories which is as it should 
be, because so many of Jane Bowles' 
characters seem to be externalized 
fragments of her own divided nature. 

Jane Bowles had her first stroke in 
1957. There followed hospitalizations, 
recoveries, further strokes, the fore- 
knowledge of death, aphasia and brain 
damage psychosis, eventual paralysis, 
blindness and death in 1973. 

A moving biography, finely written, 
as just and complete, I imagine, as 
it could be. 



-on how this issue came to be and 
how new topics emerge 

Images of a summer night 

In the soft, damp dusk of a summer's 
evening, they appear. One by one, at 
first, then in constellations of tiny on- 
and-off lights. Children run over the 
wet grass, chasing them. If you catch 
enough of them to carry in your mason 
jar, there will always be some of them 
"on", and you will have enough to make 
a lantern--a free gift of light from 
Nature to you, a celebration of summer- 
time. Is it far-fetched to compare a 
child's jar of lightning bugs with the 
physicist's rule of a "critical mass"? 
A scattering of tiny lights can be a 
fleeting pleasure, but once you reach 
a critical mass of those miniature 
fireworks, you can read a book by their 

This summer has been like that: first 
a flicker here and there, then so many 
marvels accumulating that we have a 
blaze to share with our readers. 

It started in early June. Listening 
to the televised commencement exercises 
from Notre Dame, I was transfixed by the 
words of a young woman, Nancy Haegel , 
one of two valedictorians, an engineer. 
Commencement addresses are notoriously 
cl iche 1 ridden and she was actually talk- 
ing about how she intended to make a 
difference in this world, how difficult 
problems will not yield to simplistic sol- 
utions but to deeply held convictions 
intelligently acted upon. By the time 
she came to the words "for our hands are 
strong and our hearts are young," I 
recognized the first firefly of the 
summer season and rejoiced at her young 
faith and brilliant eloquence. Feeling 
hopeful, I hoped that the gentleman who 
shared the platform with her, President 
Ronald Reagan, heard what she said. Her 
speech is just the right length to read 
aloud to your family after dinner tonight 
You will find it on page 22. 

As the summer wore on, an exceptional 
event began to take place on the campus 
of this University. The sculptor, Mary 
Miss, professor at Sarah Lawrence College, 
arrived to begin work on her monumental 
site-specific work, "Field Rotation." 
Daily we watched the progress of the 
artist and her assistants as the land 
was transformed. This issue honors Mary 
Miss and her work by our cover and the 
center-spread photographs. 

Creative women in the arts have been 
sparkling all over the place this 
summer. Exhibits by our resident artists, 
Joyce Morishita and Judith Lacaria, and 
their remarkable students—some of whom 
are already doing art in the community- 
led Lynn Strauss to do a series of in- 
terviews and articles to give them rec- 

In August I took myself up to Saint 
Peter, Minnesota, as promised, to cover 
The Gathering. My impressions of the 
bright lights I met there are found on 
page 25. 

At summer's end, we presented a 
lecture by Sara Shumer, "Two Concepts 
of Individualism at the American Found- 
ing." Professor Shumer, of Haverford 
College, stopped over to share her 
wisdom with us, en route home from her 
Sierra cabin. A political theorist, 
she has long been a friend of TCW and 
served as guest editor for our issue on 
"Women in Politics" in 1979. Her ideas 
were described as "stimulating," "up- 
lifting" and "conscience-arousing". 

Labor Day arrived: clear, crisp and 
sunny. Out, then, to the Kankakee 
River for a leisurely twelve-mile canoe 
trip down the fast-flowing currents. 
The final epiphany of the summer arrived 
in the form of a wet fish, a twelve-inch 
bass, who jumped into our canoe! This 
volunteer, this donor, this meal who 
invited itself to dinner, amazed and 
thrilled us. Surely this was a good 
omen. What could it mean? At the very 
least, this startling event was proof 
to us that gifts do happen and that 
whoever said "there is no free lunch" 
was definitely WRONG. It was a fitting 
ending to a season filled with delight, 


surprise, enlightenment, and pleasure, 

How new issues get started 

In one of our sister publications, 
ANVIL, published in Winona, Minnesota, 
I read "The hardest part of working on 
the ANVIL is the consistent, and often 
overwhelming, exposure to ideas, pro- 
jects, and people that need--and are 
worth--fighting for". Lynn, Joan, 
Suzanne and I say "Amen" to that. We 
now have topics in mind through 1983, 
in various stages of readiness. 

Joanne Creager writes to us (see 
her Letter to the Editor, this issue) 
and we are committed to an issue that 
looks promising on Women and the Law. 
At The Gathering I meet experts on 
the roles women have played in theatre 
(Karen Malpede) and the peace movements 
(Louise Bruyn) and the nucleus of a 
future issue is begun. A week at a 
Slender Bender camp, and the example 
of women like Marilyn Harbeck and her 
physical fitness colleagues who run 
the "Y" programs at GSU, and we re- 
open our files on Women's Bodies 
and Health Concerns. We already have 
some fine poems to use i.n Women 
Flying. The growing momentum of the 
men's movements, through films, pub- 
lications and organizing, reminds us 
to plan to take a careful supportive 

look at how men are changing. Men 
who are interested in information about 
the newly forming National Men's 
Organization, may write to 5512 Bart- 
lett Street, Box C, Pittsburgh PA 15217. 
As feminists, we welcome this movement. 
We feel encouraged when we see men 
wearing t-shirts endorsing the ERA. 
We all need all the help we can get. 
We need each other. 

Issues firmly in place, then: 
Deadline: Nov. 1 , 1981 

Winter 1982 the long awaited FRONTIER 
issue Deadline Jan. 1, 1982 

Spring 1982 Women in the Law or Women's 
Bodies, depending on which wants 
to be born first 

Keep with us. Subscribe. Give a gift 
subscription to your friends and rela- 
tions for the Holidays. Write to us. 
Send us your ideas, criticisms, encour- 


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